Hunt Kastner, bořivojova 85 Prague, Czech Republic

Basim Magdy: only stone, bronze and the sky shall outlive all the rest

Basim Magdy´s work opens a part of memory that does not need to succumb to historiographical categorizations. For his exhibition at Hunt Kastner, he presents the 2014 film ‘The Many Colors of the Sky Radiate Forgetfulness’ alongside a series of photographs. In Basim Magdy‘s world we stand in motion. For him, neither history, present, nor the future are merely a linear succession of facts, figures, data, liters of blood spilled, military operations, revolutions, or paradigm shifts.

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Centrala, Unit 4 Minerva Works, 158 Fazeley Street, Birmingham B5 5RT

SEVENTEEN

Olga Grotova, One (2016)

The centenary of the Russian Revolution is being celebrated in various exhibitions and cultural events this year. ‘Seventeen’ at Centrala more obliquely explores what a centenary of such significance might mean through the work of three UK-based Russian artists, Olga Grotova, Yelena Popova and Nika Neelova. Review by Jessie Bond

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Wysing Arts Centre, Fox Road, Bourn, Cambridge, CB23 2TX

All Channels Open

Lawrence Lek, FABRICK, 2017. Two video loops, 12 min, Stereo sound, Architectural model, Lasercut MDF, HD Screens, Raspberry Pis, LED Strip. 65 x 25 x 15 cm.

‘All Channels Open’ is similar to a compilation played within a subdued, minimally lit dance floor. An imaginable mic is passed to each artist in an effort to amplify her or his voice and position in the space. Review by Jaime Marie Davis

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Gasworks, 155 Vauxhall Street, London SE11 5RH

Jamie Crewe: Female Executioner

Jamie Crewe, Female Executioner, 2017. Installation view.

‘Female Executioner’ translates the 1884 work, ‘Monsieur Venus: A Materialist Novel’, into compact visual sequences theatrically staged across the sparse Gasworks gallery. Review by Ashley Janke

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Blain|Southern, 4 Hanover Square, London W1S 1BP

Tim Noble and Sue Webster: STICKS WITH DICKS AND SLITS

Tim Noble and Sue Webster, STICKS WITH DICKS AND SLITS, 2017, Installation view

Their exaggerated expressions, dishevelled hair and naked bodies rendered with a cartoonish aesthetic make an adequate mockery of the Mayfair surroundings. The artists are seemingly running riot in their white cube play-pen. Review by Cleo Roberts

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Frith Street Gallery, Soho Square (60 Frith Street), London

Adrian Paci / Giuliana Racco: Another Place

The Guardians

Informed by Adrian Paci's personal history of exile from Albania to Milan in 1997 during an armed uprising, he is characteristically drawn to dislocating the viewer and exploring the ambiguities of space, and the intersection between fact, fiction, reality and fantasy. His work has found a suitable counterpart in Giuliana Racco. Review by Cleo Roberts

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The Third Line, Warehouse 78 & 80, Street 8, Al Quoz 1, Alserkal Avenue Dubai, UAE

Sophia Al-Maria: EVERYTHING MUST GO

Sophia Al-Maria EVERYTHING MUST GO, installation view at The Third Line, Dubai 2017. Courtesy the artist and The Third Line.

Sophia Al-Maria's exhibition at The Third Line creates an immersive experience, capturing the chaotic, almost apocalyptic act of consuming. The viewer is invited to experience illusions of order in underlying confusion and pandemonium.

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Lodos, Edificio Humboldt, 116 Calle del Artículo 123, Int. 301, Colonia Centro, Mexico City, Mexico

Kasia Fudakowski: Bad Basket

Kasia Fudakowski: Bad Basket, installation view at Lodos, 2017

‘Everything that is not a basket, is a bad basket’ exclaims Kasia Fudakowski in her solo show at Lodos Gallery in Mexico City. Craft, and its valuation, is at the centre of this show, as Berlin-based Fudakowski archly comments on appropriation, market value and the definition of artistic labour. Review by Henry Osman

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New Art Exchange, 39-41 Gregory Boulevard, Nottingham, NG7 6BE

UNTITLED: art on the conditions of our time

UNTITLED: art on the conditions of our time, installation view at New Art Exchange, 2017

UNTITLED provides a number of guilty pleasures. Opening with Harold Offeh's video Covers Playlist (2016), in which a slightly over the hill man works on his disco diva moves, the show manages to maintain that identity politics can be playful as well as a serious subject. Review by Piers Masterson

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Foundling Museum, 40 Brunswick Square, Bloomsbury, London WC1N 1AZ

Mark Neville: Child’s Play

Mark Neville, Arts and Crafts at Somerford Grove Adventure Playground, 2011

The Foundling Museum’s 'Child’s Play' by Mark Neville is a photography exhibition which inhabits that grey, often elusive space between contemporary art, documentary photography and political activism. The project aims to focus attention on attitudes towards play in the UK by bringing together a book, a symposium and this exhibition which presents images of children playing set against a number of vastly contrasting backdrops around the world. Review by Alexander Daniel

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Thomas Dane Gallery 3 Duke Street St James's London SW1Y 6BN

Anya Gallaccio: Beautiful Minds

Anya Gallaccio, Beautiful Minds, 2017. Installation view, Thomas Dane Gallery, London

'Beautiful Minds’ at Thomas Dane Gallery presents a collaborative sculptural installation that interrogates notions of authorship, performativity and our relationship to technology. Review by Zoe Marden

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Cell Project Space, 258 Cambridge Heath Rd, London E2 9DA

Ghislaine Leung: The Moves

Pictures, 2017, Ghislaine Leung. Raised floor with sunken recess, black rubber Push to Shove, 2017, Ghislaine Leung. Foam board, tape, carpet, rubber, phones, night lights, video, photos, paper, acetate, mirror, extension cables, cable ties. 61 x 112

The display overwhelms by its absence of images and presents instead a series of glass wall panels bracketed inside aluminium structures. These panels, covered with black vinyl texts, spell out incidental conversations, unsolicited quotes, traces of speech. Review by Rafael Barber Cortell

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Vienna Secession, Friedrichstraße 12, 1010 Viennassion

Angelika Loderer

Angelika Loderer, installation view, Secession 2017, Photo: Matthias Bildstein

Angelika Loderer's new sculptural works call conceptions of value in to question. Here, simple and commonplace forms are enhanced with precious materials, bearing witness to the ambivalence of perishability and meaning.

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Stedelijk Museum, Postbus 75082, 1070 AB Amsterdam

Jordan Wolfson: MANIC / LOVE / TRUTH / LOVE

Installation view Jordan Wolfson: MANIC / LOVE. Photo: Gert Jan van Rooij. Collection LUMA Foundation.

Merging the boundaries between abstraction and figuration, and challenging the formal and narrative potency of the sculptural discipline Jordan Wolfson presents MANIC / LOVE / TRUTH / LOVE. In this exhibition Wolfson explores the increasing digitalization of society and other technological developments.

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